If you'd told me at the start of the year that there would be a rom-com, a Chekhov and a Christmas play on my best of list, I'd have laughed in your face. Just goes to show you should always expect the unexpected...here are my favourite plays of 2017, in no particular order and links are to my reviews.

An Octoroon - Orange Tree Theatre - publicity photo by The Other Richard

Dirty Great Love Story, Arts Theatre

Let's face it most rom-coms are a bit rubbish - they generally aren't that funny - but this tale of modern romance had me guffawing with laughter and I wasn't on my own.

An Octoroon, Orange Tree Theatre

This is a play that reminded me why I love going to the theatre and I could write pages on it. Thought-provoking, sometime uncomfortable to watch and yet it was still entertaining. It's transferring to the National Theatre in June and I'll definitely be getting a ticket.

Apologia, Trafalgar Studios

In my review I said: "Apologia is a play of sharp humour and depth that slowly breaks down the defences to reveal something raw and emotional. You will laugh and you will have a lump in your throat." It was also a great play for female characters.

Out There on Fried Meat Ridge Road, White Bear Theatre and Trafalgar Studios 2

This odd-ball, misfit comedy was a breath of fresh air and it got a much deserved transfer so I got to enjoy it a second time.

Hamlet, Almeida

Up there as one of the best Hamlet productions I've seen, it made me see the play anew.

BU21, Trafalgar Studios 2

Writer Stuart Slade took real testimonies from terrorist attacks around the world and used them to create a story around a fictional attack in London. The result was an honest, awkward and funny piece that was also really clever.

Not everything is brilliant or lives up to expectations. These are the plays that disappointed me the most in 2017.

Obsession, Barbican Theatre

Ivo Van Hove had two plays in my best of list last year but Obsession, starring Jude Law, felt at times pedestrian and aloof where it should have been passionate and tense.

Against, Almeida

While I always enjoy watching Ben Whishaw on stage the play itself was so disappointing. On reflection, in my review I think I was still trying to like it  but it was just so doughy, lacking any punch or defined focus.

Woyzeck, Old Vic

Was really excited to see John Boyega on stage but like Against, the play was a disappointment. You can see where it is going early on - there is a particular line which is like having a gun on stage - but it takes a long, long time to get there. It also felt like it was trying too hard to be shocking and edgy.

Nuclear War, Royal Court

I'm a huge fan of Simon Stephens but I wasn't a fan of this at all. It felt like an experiment that shouldn't have made it out of the rehearsal room. It was so abstract and difficult to make sense of its 45 minute running time felt too long.

Hamlet, RADA

Ah yes the Tom Hiddleston/Kenneth Branagh Hamlet I was so excited about this. Love Tom Hiddleston but I'm not a fan who sees everything he does through rose-tinted spectacles (Ben Whishaw/Against is a case in point) and this felt like a huge opportunity missed. It's a small, intimate space and the play was staged in the round with the stalls seating effectively 'on stage' but it seemed as if Kenneth Branagh had directed it for a huge West End theatre.  There was no subtlety, no surprises, no innovation and given that the last two Hamlet's I've watched have been among the best I've ever seen it was really disappointing. I'm still a little bit cross about it.

Related: My best of theatre list for 2017

As someone who can mildly be described as not being a Christmas person the fact that I came out of the Old Vic after watching A Christmas Carol with a spring in my step, whistling Christmas carols is an achievement. So, in a faintly Christmassy style here are 12 things I liked, in no particular order and prefaced with a spoiler alert.

1. The lights

I've heard it described as a 'constellation' and that is wholly appropriate description for the multitude of old fashioned lamps hanging above the stage that cuts through the centre of the auditorium. Firstly there something festive and cosy about them but also lamps feature in various sizes and guises throughout the play.

2. Scrooges hair

A combination of bed-head and looking like he'd been unconsciously pulling at it while counting his money it was perfect for Rhys Ifans' Scrooge. It worked really well with his slightly dishevelled look that said 'I don't waste  money or time on fripperies such as smart clothing and grooming'.

3. Scroogey Scrooge

He looks upon charity with utter scorn but more than that, so long has he been like this, he doesn't even notice or consider it wrong - or does he? Given how his family persist with him, there are hints of a past, of a different man and Rhys Ifans plays it to perfection...

4. Happy Scrooge

...as he does the Scrooge that has seen the light and is desperate to make up for his uncharitable ways. He displays the sort of joy that could only come with rediscovery, he wears it like an old favourite coat found at the back of the wardrobe after many years. It bursts out of him and is really infectious.

5. Bells

Nothing says Christmas like the sound of tinkling hand bells, particularly when snatches of Christmas Carols are played by the cast building up to a lovely ensemble finale.

6. Snow

So giddy did this production make the audience that when it started snowing on the stalls there was a spontaneous applause. It was a magical moment, that added to the Christmassy feel. There was also a very cleverly done snowball fight in which 'thrown' snowballs looked like they were exploding on contact.

via GIPHY 

2017 is already the year that brought us Andrew Scott's Hamlet, Jez Butterworth's The Ferryman and my introduction to playwright Branden Jacob-Jenkins and it's only six months in. There are a further nine plays I couldn't not include in my 'best of so far' list and that was with the bar set very high. I've still got Angels in America, Ben Whishaw in Against, Rory Kinnear in Young Marx and the awarding winning Oslo to come later this year, among many others potential theatre treats - the end of year list is already looking tricky to narrow down.

Anyway, here's what I've enjoyed the most in 2017 so far. Feel free to agree/disagree...

(In no particular order, because that would be too traumatic to do.)

1. Amadeus, National Theatre  This was supposed to be a 2016 play but I gave up my ticket for the early part of the run because of work pressures, good words from @PolyG made me rebook for January and I'm so glad I did. It was a play that unexpectedly floored me. It's returning next year and yes I've got a ticket.

2. Out Their On Fried Meat Ridge Road, White Bear Fringe theatre kicked off in fine style with this brilliantly warm, funny, odd, dark, misfit comedy that was the antidote to everything disturbing that was going on the world at the time. It transferred to Trafalgar Studios 2 and I got to enjoy it all over again.

3. Hamlet, Almeida  I've seen a lot of Hamlet's and there is usually something new in each but Andrew Scott's prince in Robert Icke's production made me look at the play with completely new eyes. Sorry Sherlock but this was a battle that Moriarty definitely won. It's transferred to the West End.

4. An Octoroon, Orange Tree Theatre  Was tipped off about American playwright Branden Jacob-Jenkins and this is the first of his plays I've seen. It's a play I could write reams and reams about and reminded me why I love going to the theatre. Gloria, another of his plays is currently on at Hampstead Theatre, it didn't quite make this list but it is still really good.

5. Rotterdam, Arts Theatre  This was in my 'best of' list last year but after a stint off Broadway it's come back to London to the bigger Arts Theatre. It made me laugh, it made me gasp and it made me cry - all that even though I've seen it before and knew exactly what was coming. That's why it's back on the list. It's on until 15 July.

6. Rosencrantz and Guildenstern Are Dead, Old Vic  It's possibly the only Tom Stoppard play I really like and this was a great production that was lively, entertaining, profound and melancholic . There was a brilliant rapport between the two leads - Daniel Radcliffe and Joshua McGuire - and David Haig as The Player was worth the ticket price alone.

Look what landed into my inbox today, rehearsal images for the Old Vic's forthcoming production of Woyzeck, adapted by Jack Thorne and starring John Boyega, Nancy Carroll, Darrell D'Silva, Sarah Greene and Steffan Rhodri. It runs from 15 May to 22 June and I'm really looking forward to it.

Daniel Radcliffe and Joshua McGuire. Photo Manuel Harlan

Joshua McGuire (Guildenstern), who has played Hamlet, is on stage talking to a Hamlet (Luke Mullins) - could Tom Stoppard have anticipated this when he wrote Rosencrantz and Guildenstern Are Dead 50 years ago?

Such career progression from tragedy to humourous meta theatre feels wholly apt for this existential play which explores fate versus self determinism. The two minor characters of Shakespeare's play are catapulted centre (back) stage and seem determined to cling to life when literary fate would have it otherwise. 

"There must have been a moment, at the beginning, where we could have said - no. But somehow we missed it."

Called to the Danish court by Hamlet's uncle, Rosencrantz (Daniel Radcliffe) and Guildenstern's 'job' is to determine what is wrong with the Prince - the problem is they are out of their depth. Unsure of what they need to do or how to do it they search for structure, rules - clues - to help. They talk themselves into and out of action, bide their time bickering and bury themselves in familiar games while the story of Hamlet plays out on the periphery, often sweeping across the back of a stage like a human curtain being drawn.

Here they are, Daniel Radcliffe (Rosencrantz) and Joshua McGuire (Guildenstern) rehearsing ahead of the opening of Rosencrantz and Guildenstern Are Dead (the only Tom Stoppard play to date that I really like, but that might just be me). It's the Hamlet story told from the perspective the two minor characters and its very clever and funny.

It opens for previews at the Old Vic on 25 February and then runs until April 29.

ART Tim Key, Rufus Sewell and Paul Ritter. Photo by Manuel Harlan

Serge (Rufus Sewell) has bought a painting, it's five foot by four foot and is white. He paid a lot for it. His friend Marc (Paul Ritter) sees red and isn't afraid to let him know. His friend Yvan (Tim Key) is more diplomatic but that causes its own problems.

Is it Art? Well that's almost besides the point, it's more what it says about Serge in Marc's and Yvan's eyes and what that means for their friendship. Through a series of monologues and exchanges - which are humourously juxtaposed to emphasise the diplomacy/lies in their relationships - the strength and strains of their friendship is revealed.

Marc feels let down by Serge, Serge thinks Marc is arrogant and Yvan just wants to escape from the stress of trying to organise his wedding and therefore agrees with everyone to maintain the status quo.  Can their friendship survive the painting purchase?

This is a meatier play than the synopsis would suggest. Yes there are plenty of laugh out loud moments - the comic timing of the actors is razor sharp - but it also has a lot to say about the nature of human friendships particularly over time. It is a play that feels like a riotous watch but has darker notes which linger long after the actors have taken their bow. It is a play that entertains but also forces you to examine your own attitude towards friendships. It is a play about honesty that forces you to be honest with yourself - would you honestly admit which character you most identify with? It is also a play in which three men silently eating olives has never said quite so much.

Art is on at the Old Vic Theatre until 18 February and is 90 minutes without an interval. I'm giving it four and a half stars.

The photo shoot for Art's promotional pics look like Rufus, Tim and Paul all had fun (see a behind the scenes vid here). There's also a bunch of rehearsal shots - really looking forward to this one and not just because of the opportunity to see Rufus Sewell on stage again. Ahem.

Art at Old Vic Theatre is directed by Yasmina Reza and opens for previews on Dec 10 and then runs until Feb 17, 2017. For more info head to the Old Vic website.

ART Tim Key, Rufus Sewell and Paul Ritter. Photo by Manuel Harlan

ART Tim Key, Paul Ritter and Rufus Sewell. Photo by Manuel Harlan

The stage at the Old Vic is being 'cleaned' as we take our seats and a few of the cast dressed in what looks like their regular street clothes amble around chatting. It is brightly lit and you can see spare lighting rigs at the side of the stage and there isn't much by way of set and props except a white screen and a row of cheap plastic chairs.

It feels like we've walked in on a rehearsal rather than a full blown production and this becomes a bit of problem once the play has started. While there are no scripts to be seen and the actors are definitely in full flow, the direction and sparseness of the stage make it feel, to use PolyG's words, like a glorified rehearsed reading.

After about an hour it kicks in although by that I mean it has its moments. Rhys Ifans lights up the stage as a super-hero costumed Fool although as a result his appearances feel all too brief. Harry Melling too feels compelling as Edgar in fact it is the scene where he sees his blinded father for the first time where I was most moved. It is interesting that director Deborah Warner has chosen to distinguish between Edgar and his brother Edmond (Simon Manyonda) by making one a fitness addict and the other a chocolate addict and it is the bad brother that is into exercise.

Jane Horrock's stalks the stage as the painted-on-jeans, high-heels wearing Regan and Sargon Yelda's Kent brilliantly switches between accents as his disguise which works really well.

But this is Glenda Jackson's show or at least it should be. She gives an energetic performance that belies her frail looking frame but it isn't enough to captivate and ultimately engage.

She is a bawdy King Lear, hanging out drinking with 'his' knights in fact this a bawdy production that crudely exposes the sexual innuendo and references. Bare flesh is exposed: Edmund bears his buttocks to the audience while masturbating over his plans to rob his brother of his inheritance, shirts are taken off for fights and and Edgar strips to his birthday suit and runs around, later wearing just plastic bags as pants (I noted the Lidl logo).